[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Re: Motor theory of absolute pitch
Dix Ward's and Ed Burns's study showed that auditory feedback was necessary
for producing a melodic sequence even as simple as an ascending scale. The
AP issue was secondary -- if you are off by a third when you want to sing a
note in a scale, it is pretty irrelevant whether you hit the first note
right or not.
Pierre Divenyi
===================
At 03:13 PM 5/9/01 -0400, Daniel Levitin wrote:
Rebecca and others have suggested that absolute pitch may rely to
some degree on muscle memory. I have two comments.
First, I believe that absolute pitch is of interest because it
putatively involves some sort of unusual/special memory ability. It
appears that possessors have stable long-term representations of
musical pitch, and they are able to categorize or label these
representations with linguistic labels. If AP is subserved by
muscle-memory, that doesn't make it any less interesting it seems to
me -- we are simply specifying the type of memory that is involved,
but it is still a feat of memory.
Second, and more relevant, the late Dixon Ward and Ed Burns conducted
a study that addresses this issue head on. Ward and Burns (1978)
denied auditory feedback to trained singers who possessed absolute
pitch (forcing them to rely solely on muscle memory); the singers
erred by as much as a minor third, or three semitones. Thus muscle
memory was only enough to get them in the ball park, and did not
account for their AP ability.
Ward, W. D. & Burns, E. M. (1978) . Singing without auditory
feedback. Journal of Research in Singing and Applied Vocal Pedagogy,
1(2), 24-44
Dan Levitin
****************************************************************************
Pierre Divenyi, Ph.D. Speech and Hearing Research (151)
V.A. Medical Center, Martinez, CA
94553, USA
Phone: (925) 370-6745
Fax: (925) 228-5738
E-mail : pdivenyi@marva4.ebire.org
****************************************************************************